One way to see it was as consisting entirely of dramas, great and small, dramas nested within dramas. A drama has some kind of hero, some kind of predicament, a crisis, a point of choice, a resolution that restores the hero, perhaps in an altered form. Dramas require framing contexts which maintain the terms in more or less stability so that the drama can play out. But the relationship can also be seen in reverse; it is the dramas which allow the contexts to exist. In every form of distress as in every form of gladness there is something which has been taken to be real, something belonging to the context and which anchors the entire experience, and is secretly understood as its whole point. We see these realities overturned and overcome, see them resolved into unreal contingencies. It is a salutary realisation, but weakened since it always occurs on behalf of yet another reality, and as a process in time. The realisation is captured by the general assumption that everything is contained in a drama.